Two great female vocalists, having a little chit chat, Ada and Phyllisia:

Ada: Describe yourself in three words.

Phyllisia: 1- God fearing 2. artist 3. foodie.

Ada: You’ve been solid with every single you’ve put out. Why that approach instead of releasing an album?

Phyllisia: I have been very hesitant about putting an album out due to the loss of significance of the album. When I was young I loved ordering my CDS, waiting for them to arrive in the mail, opening the package, reading all the liner notes, lyrics, pictures while listening to the album from start to finish. There was such a process associated with listening to and appreciating the cohesiveness of the whole album. Due to our 15 second society and the now even shorter attention spans of people, I feel like most have lost that nostalgia about albums but it looks like my fans are now demanding it, therefore I will deliver.

Ada: Because you play an instrument, do you think it plays an advantage on how your music is produced? If so, why?

Phyllisia: Playing an instrument absolutely inherently makes me more connected to the music. I can create the progressions for the songs, which lead to the melodies we sing, which lead to the words we use. When producing music or making songs a lot of the times we just write to basic piano or guitar to leave room open for making sure we have an amazing and successful melody. When I play and sing I feel like I am even more connected and focused on the music I'm making that moment. I suggest that EVERY singer try to learn an instrument

Ada: What advice would you give an aspiring artist?

Phyllisia: Do not expect people to make your dreams come true for you. You should be your biggest investor, believer, critic and everything in between. When you realize that no one can save you, and in fact, everyone is trying to figure out how to save themselves, you can be comforted that no one has the answers and all we can do is just be. For me, just being means singing, playing, making music. Choose your path and stick to it, no matter what.

Ada: You’ve had a s strong start, singing with International artists such as Jah Cure and Flo Rida, and now taking over the HMI as one of the leading women artists. How does that success impact the next five years of your career?

Phyllisia: Life is a marathon. Everything we ever do matters. One success does not build a career- a series of well put together, well thought out, true, honest, and most of all made with love moves, builds a career. I am enjoying stretching myself and trying out all kinds of things. I am a student of the music- anything goes with me. In 5 years I know I will be continuing to make even better music, performing on bigger stages, impacting more people, and making my mark in the world through music.

“We always knew that in a garden of red roses anyone will notice a white rose. We tried hard to be different from what was out there and we created it….”-Carlo Vieux

Music is multidimensional and contains many layers with very specific stories to tell. The Haitian Music Industry's “Invasion" trio, CaRiMi, is guiding their followers on a promising journey through their music's evolution. Haitianbeatz presents, “The Invasion of CaRiMi” interview.

Music is a universal language that differs depending on the culture. No matter what country you go to, the sound of music will be vary to a certain extent. However, one thing that is certain is, regardless of whether the lyrics are understood, the melody will always connect the listener to the subject matter of the song and the emotions that it evokes.

CaRiMi, a band started by three friends, Carlo Vieux, Richard Cave and Mickael Guirand, was able to accomplish this feat, since their inception in the Haitian Music Industry in 2001. Their music has connected with people and cultures from around the world.

To really know CaRiMi, is to know where they come from and where they plan on going. CaRiMi's music has been defined by creativity and individuality in taking their fans on an everlasting journey. This journey has kept them relevant in the Haitian culture, its music industry and in music overall for the last 12 years.

Their new album, Invasion, is an album for musicians and music lovers worldwide. "When it comes to creativity, we have a sound that we want to share with our listeners. Our melodies, lyrics and arrangements were all molded into something that was not out there," explained Richard. "We've listened to and still listen to all types of music from all genres. We do not limit ourselves, and we let this knowledge of other cultures and music flow through our creative and growing process until we get something that is musically different then what is out there."

Carlo continued, "We always knew that in a garden of red roses anyone will notice a white rose. We tried hard to be different from what was out there and we created it."

Before coming up with the name “CaRiMi,” the band experimented with many bad ones. One day, Mickael created an email account for the band under the name CaRiMi@yahoo.com. Compared to the other band name ideas, Richard and Carlo thought it was a really good name. "We thank Mickael for this name that is now our brand and a household name too", expressed Carlo.

Carlo recalls never wanting to start a band: "I offered Mickael, after our last tour with Kdans —back in 1998 — to release an album with me just for the sake of releasing some songs that we had. Richard came to New York around that same time. Mickael spoke to him about the project and agreed to embark on it. We produced the Bang Bang album, while we were still in college, and that cleared our path to success in the HMI."

Haitianbeatz: If the band could dabble in another genre of music, what would it be?

CaRiMi: It would be Gospel music. You find everything in gospel music (hip hop, R&B soul, jazz, easy listening). Gospel is truly a great genre.

Haitianbeatz: In your most honest opinion, what do you feel is the band's greatest strength or weakness?

CaRiMi: Our strength is we put the band first. We set common goals for the band and we make sure we reach these goals. Ultimately what is good for the whole team will be good for the individuals that worked together to achieve that goal. We also show appreciation to our musicians because if it were not for them, there wouldn’t be a band. Most importantly: our amazing fans! Our love for them goes beyond what words can sometimes express. They are ultimately our customers. We have to always cater to them and make sure they are satisfied in every shape or form.

Our weakness stems from the fact that we are caring individuals in a business that does not care about the individual. We try to be nice to other bands or other artists who will not necessarily be the same way so we’ve ended up learning the hard way sometimes. However, through gaining a better understanding of the business, our weakness has become a strength.

Haitianbeatz: Which creative medium would the band love to pursue but hasn’t yet?

CaRiMi: We think we are pursuing it on this album, Invasion. We're very creative on this one and our fans will enjoy it.

Haitianbeatz: Does the band try to create music to give messages or reflect on important matters/subject(s)? If so, what are they? Should we expect to hear any messages on the new album?

CaRiMi: Yes. We encourage people to go on iTunes to download our past works. Bang Bang describes Haiti’s perpetual chaotic state, Wanraje, Domestic violence, En Si Peu De Temps, DUI. The fans will discover that on our new album when it comes out on November 1st, however, we delve into some interesting topics. There's a song on our beloved country, Haiti.

Haitianbeatz: Tell the HB readers the most important factors you all took into consideration from the beginning stage of the album’s creation to the end.

CaRiMi: Our sound is the first and most important thing. We wanted to make sure we came up with an album that was better than our previous one on all aspects of sound, lyrics, and melodies.

Everything had to be on point. A song is as good as the singer’s performance and also the background vocals performance so vocals and the chorus are very important to us. On this new album, we made sure they were very good. In any market, the vocals are very important; which is why nowadays with compression, all vocals are said to be in your face and louder than the music. It is one of the most important pieces of the puzzle. Catchy choruses are also the key to any successful album.

Haitianbeatz: What else can we expect from CaRiMi in the future?

CaRiMi: More creative and innovative music. We always try to surpass our last work. Once this album hits the market on November 1st, we'll start laying the groundwork for our 6th album. Innovation does not happen overnight. It takes years. Justin Timberlake took seven years before releasing his last album. It takes time, discipline, and hard work to come up with innovative work.

Haitianbeatz: If a non-Haitian reader of this interview were curious about the band, in one sentence, how would you convince him or her that CaRiMi is the best band to follow in the industry?

CaRiMi: We would encourage anyone who is not of Haitian descent to explore our culture more after reading this interview. To us the whole is better than the part. The band, CaRiMi, is a part of a larger entity. That is our country, Haiti. We’d also encourage the reader to listen to Compas music as a whole, not just CaRiMi. All of the other bands, in some way shape or form, have just as much to offer. Through the process of wanting to know about Compas music they will eventually stumble upon CaRiMi, not because we think we are better than others, but because we are part of the Haitian Music Industry.

Haitianbeatz: Do you have any stories about how the title of an album or a song came to be? Perhaps an inside joke between the members, or a phrase you came across?

CaRiMi: Fe’m Kado’W written by Richard Cave was a phrase that our friend Sergo always says when he spots a beautiful Haitian sister. So one day while talking to Richard at a CaRiMi show in Boston, this lovely Haitian sister walked by and Sergo said “Cherie fe’m kado’w non.” Richard loved it and morphed that one sentence into a great song. That is talent at its best. Kudos to Richard Cave.

Haitianbeatz: Do you have a particular theme for each album or is it mixed and matched?

CaRiMi: We develop themes at the end, after we produce the songs. We start with ideas that we turn into music. After a few songs we start seeing where it's taking us. We do not ever know from jump where we are going with an album. We may have an idea but sometimes it changes as the project starts to take shape.

Haitianbeatz: While performing live, do you like to do crazy or unexpected things that other bands don't normally do?

CaRiMi: Well, it depends on what your definition of crazy is (laughter). We still have an image to uphold and a crowd that follows us, therefore, we try to be reasonable. But to answer your question, yes, we do try to push the envelope a little further than most.

Haitianbeatz: Wherever CaRiMi goes, others will eventually follow. Agree or disagree and why?

CaRiMi: We always try to be the trendsetters. Again, it's all about presenting the same product differently. Others do follow so we are proud to know that our work is appreciated.

Haitianbeatz: Did you ever think the band was going to be this popular?

CaRiMi: Not for a second did any of us ever think that we would be the first Haitian band to perform at Olympia in Paris, sell out in Zenith; or receive awards for best bands, best album, best video, best single more than once. We are blessed and grateful to have such great and loyal fans, who believe in what we do. For that we say thank you.

Haitianbeatz: Describe your first feeling of the band's live concert?

CaRiMi: Indescribable. It just cannot be explained. It’s stressful but exciting at the same time. Imagine the fear of not wanting to make mistakes but also of wanting to do jumping jacks on stage. Each member has many mixed and different emotions. It was just a weird feeling.

Haitianbeatz: How do you handle mistakes during a performance?

CaRiMi: Life happens, so we keep it moving and make sure that no one in the audience notices any shortcomings. We have to keep it moving. We are human so it is bound to happen. However, we try hard to be consistent. But after the show we crack jokes on the hiccups from whomever. It could be Carlo, Richard, Mickael, or anyone in the band. By cracking jokes we not only show that it is human to make mistakes, but we also make it a point to try not to repeat it during our next performance.

Haitianbeatz: Do any of you still get nervous before a performance?

CaRiMi: At this point in our career, not really. It petered out after 12 years in the game.

Haitianbeatz: How often and for how long does the band practice?

CaRiMi: As often as our schedule permits, for about 3-4 hours each time.

Haitianbeatz: What is CaRiMi, as a band for someone trying to communicate with his or her music?

CaRiMi: We represent a talented, innovative, and artistic nation. On Friday, November 1st, 2013, we will once again prove that our music is amongst the best out there.

Haitianbeatz: How has CaRiMi's music evolved since the band was first introduced to the Haitian Music Industry?

CaRiMi: We prefer to let our work do the talking so we encourage everyone to go on iTunes and download, not copy, the following albums: Bang Bang, Nasty Business, Are You Ready, Buzz, and Invasion to get a feel for how we have evolved. Support the CaRiMi brand.

Haitianbeatz: CaRiMi is a group of three college-educated men. Do you ever emphasize and encourage the younger members of the band to pursue their education?

CaRiMi: We do encourage it, but we do not shove it down people’s throats, as if it is the only way to be. Carlo is educated in Economics. Richard is educated in Finance. Mickael in Accounting and Fito, the band's manager, in business. It has worked for the band. While we do encourage it, we also think people should do what works for them as long as it makes our society better.

"Let me also say that education does not necessarily mean sitting in a classroom. We chose that route and it has worked for us. However, many great people in our society, whom have gone on to do great things, did not necessarily have a college education. Thus an education is not the sole ingredient for success, although it may be a factor. Education has what economist call “positive externalities” in a functioning society. We know this term because I was an economics major in college. I will benefit from having an educated neighbor and vice versa, however we should not discriminate if one is not traditionally educated because he can be more successful financially and smarter than a lot who are." Carlo Vieux

Haitianbeatz: Richard, in the song, "Pitit Sa", you sing about and describe how a child is not yours. Let's say it was discovered that your wonderful 1-year old child whom you love dearly, was accidentally switched at the hospital and not yours. Would you want to exchange the child to correct the mistake?

CaRiMi: Tough question. That is a whole other debate. I do not have the answers to this tough question, although I can debate it. It would sidetrack us from this interview.

“Tough question wow!” Richard Ca

Haiitanbeatz: What's your favorite track(s) on the new album? Name a few guest artists we should expect to hear.

CaRiMi: We have Wanito, Izolan, Mika Ben, and I will leave the rest for November 1st. A far as a favorite track is concerned we cannot pick one. We invite everyone, to come have the CaRiMi experience at B.B. King in New York City on Friday, November 1st, Saturday, November 2nd at Moca Café and Lounge in North Miami, Florida and Friday, November 8th at Karibe Hotel in the Petion-Ville section of Port-Au-Prince, Haiti.

Haitianbeatz: Describe Fito’s, the band's manager, growth process with the band. How has his influence changed from then and now?

CaRiMi: Fito is one of the best, if not the best manager in the industry, hands down! No one can dispute this fact. He knows how to manage on a micro level in terms of the individuals in the band, and on a macro level in terms of managing the whole band, in this cutthroat industry. We are very impressed with his abilities, day in and day out, to make key decisions that are critical to the success of CaRiMi.

His influence has been unchallenged from day one. We listen to him and we look up to him with the utmost respect. As a band we are lucky to have such a great manager who knows the ins and outs of this industry and business.

Haitianbeatz: When the manager and band members disagree, how do you come to a mutual understanding that everyone will eventually agree on?

CaRiMi: Our agreement comes by putting the band first, not individual egotistical needs. Bottom line, if it will benefit the band we all agree even if we have differences in opinions. The brand comes first.

Haitianbeatz: What 3 inspirational words would you use to explain the band's existing solid foundation?

CaRiMi: Discipline, Team and Dedication.

Haitianbeatz: What legacy do you want to leave behind?

CaRiMi: Well we want to go as high as we possibly can on the success ladder in our music career. We want to be able to set a blueprint on how to run a successful music business, making it easier for the other artist coming after us. It is a business like any other. Our success is critical in order to defeat the negative opinions that have been expressed about the music industry and/or musicians.

"We are businessmen in the music business point blank. We are not musicians doing drugs, having a lot of girls left and right, many babies left and right etc. We will prevail above these stereotypes." Mickael Guirand

Haitianbeatz: When the show is over and the lights go off, what about CaRiMi makes you look forward to another moment on stage?

CaRiMi: Our fans. Every single time they start singing our songs it makes us want to continue even more. It's just incredible to see the crowd’s reaction to our work and that is something any artist would look forward to. Our fellow musicians as well. The fact that we love performing on stage, and we have fun whenever we're performing, makes us look forward to our next performance.

Haitianbeatz: For a child whose wings are broken, who might be reading this interview how would you use your influence as a band to help him/her soar again?

CaRiMi: If success were easy, hard work would not exist. Every single time there is a NO, he/she is closer to a YES. So the key is to continue with persistence and keep on keeping on. Use any type of failure as motivation to be successful. We do that all the time. As a team, we do not accept failure. We turn it to our advantage by letting it motivate us. And any child, whatever their dreams, should use any bumps on the road as motivation because eventually it will happen.

Haitianbeatz: How many more album(s) should we anticipate from the band?

CaRiMi: As long as God gives us health, inspiration, and love of the fans we will not stop. (Laughter)

Haitianbeatz: Any final words for the fans?

CaRiMi: We would like to first thank Haitianbeatz for providing us with this platform. Keep up the great work. Fannie, we thank you very much for a great interview. This gave us a chance to talk to our fans, we appreciate it.

The "Invasion" will start on November 1st, at B.B. King. Our album will be available on iTunes that same day, and our video will be coming out shortly.

Carimi: Thank you to all CaRiMi fans out there for blessing us with their support and we look forward to seeing them at our upcoming shows. Support your band, support the brand CaRiMi, and don't buy any bootlegs! Buy our work on iTunes or go to a store and buy the album.

“Well, I was born in Cap-Haïtien, Haiti (Au Cap). As far as music is concerned, there’s a lot of diversity there so it all started there when I was very young with some friends around the neighborhood. Since school was always a priority in my household, it was really difficult to actualize the talent I realized I had from an early age. Also, I grew up listening to two of the biggest orchestras in the country from Au Cap,

TROPICANA D'HAITI and SEPTENTRIONAL D'HAITI. However, my musical career really took off at a church called Holy Name in upper Manhattan in New York, where my family moved after we left Haiti. There, I used to participate in different talent shows and I was part of the church band. That's where I created my first band, ZOUKE.” Kenny Desmangles introduced himself for this interview. He spoke about the Kenny Desmangles that we sometimes don’t hear to much about.

HB- What music did you listen to when you were growing up? Who werre your greatest influences?

HB- Are there other artists that you love -- past or present -- that didn't directly influence you?

KD- Yes. Artists like, Mick Jagger, Smokey Robinson, Luther Vandross, Malavoi, and a few artists of my generation. I prefer not to mention any of their names.

HB- Do we have a solo artist problem in the HMI? Is it harder for a solo artist to make it, to get signed, to find radio time, and to get into stores than it used to be? If so, why do you think that is?

KD- I don’t think we have a problem as far as solo artists. In some ways it might be harder for a solo act to make it in the HMI simply because we don’t really have settings to accommodate solo artists. In my opinion, a solo artist needs a backup band to perform or to promote their product. Otherwise people are not just going to buy their product. They want to listen to music in a live setting if they like it, which will also boost sales. The bottom line is our market is not big enough or structured for that.

HB- How many bands were you a part of before Zenglen?

KD- I had a few experiences with groups of friends but of what I can call regarding real bands I was a part of before Zenglen, was NYAS and 509.

HB- What’s your personal favorite thing about being in Zenglen compared to other bands you've been in?

KD- Zenglen fans. They are the best.

HB- Is there any tour or shows that you have done that you still look back on and think, “Wow, I can’t believe this!”

KD- The camaraderie amongst the band members, the fans, and traveling from one place to another. You get to visit a lot of countries and meet a lot of people while you’re working. How cool is that?

HB- As an artist what is the most fulfilling aspect about playing music?

KD- Knowing that people appreciate your music when they sing your songs. Knowing that your creations mean a lot to them. There are certain things money can’t buy!

HB- Do you recall where your very first gig was? How many people would you say were in attendance and what was the reaction like?

KD- My first gig was at my little brother’s Baptism party. There were a few hundred people there, including my family members and they were going crazy, clapping, dancing, and screaming.

HB- Tell me about your chemistry with Reginald Cange?

KD- Regi and I have been working together for over a year now. I think we are starting to develop really good chemistry on stage. Our dance moves are more in sync now and we can pretty much tell what the other is about to do next as we perform. Those things don’t just happen overnight.

HB- What types of responses have you gotten from the “Rezilta” album?

KD- People say that it's the best album that’s come out for the year of 2013 and that we’ve really raised the bar with “REZILTA”.

HB- Define the process when you are writing a song?

KD- For me it could be different ways. Sometimes the lyrics come first and sometimes it could be the melody. Sometimes I start with just a verse, create the music, work on the chords and arrangements, and complete the lyrics later.

HB- In an interview with HB, your former Maestro, Richie, stated that you contributed musically to the Rezilta album, but not vocally. Do you agree?

KD- I don’t understand his answer. It sounds more like a political response. Perhaps if he can be a little more specific then it would be easier for me to answer your question.

HB- You told me recently that you had been preaching the new direction that Zenglen has taken to Richie a few years ago but he refused. What was his reasoning?

KD- That Zenglen fans would not have accepted it. That it wouldn’t have worked.

HB- You seem to take off your shoes at every performance lately, meanwhile stating, “Mwen p’ap pran soulye sa anko”. What do you mean by that? (laughing)

KD- (Laughing) First of all, I do not take off my shoes at every performance. But when I do sometimes, it is just for fun. It’s pure entertainment. Remember Moses, I am an entertainer at heart. People tend to forget that. A lot of people have short memories when it comes to me sometimes. They forgot that I used to hold it down for the great King Kino of Phantoms and the legendary ladies’ man Alan Cave in Zin. During the summer of 2007, I did 31 shows in Haiti with Zenglen as the only front man with the hit song “Ou Fe Fot”. Just a little reminder,Moses!

HB- You recently posted a picture of your son on Facebook. How old is he? What does he mean to you?

KD- My son Elijah’s 8 years old. He means the world to me. He's the only one I have and I like to spoil him. I do what I do, for him. My time on this earth is almost done so now it's his time to shine in whatever he chooses to do in life, and he has my 1000% support. I love him to death.

HB- Besides music, what else do you do for fun?

KD- I like to go out to the movies, or watch them at home. I like sport, like soccer and basketball.

HB- Any female artist, Haitian or non-Haitian that you have a crush on?

KD- Janet Jackson and Ciara.

HB- Is there anything you would like to say to your fans before we wrap this up?

KD- I'd like to say thanks to Haitianbeatz and thank you to all the fans around the world for all the love and support that they have given me throughout the years. I pray GOD every day to bless them all and to grant them health and happiness. I love them all!

Mr. Jiha served as Deputy Comptroller for Pension Investment and Public Finance in the Office of the New York State Comptroller. As the state’s chief investment officer, he managed the assets of the New York State Common Retirement Fund (CRF) – then the nation’s second-largest pension fund valued at $120 billion. He also oversaw New York’s College Savings Program, with assets of $2 billion, and the state’s short-

term investment pool of $5 billion. He was also in charge of all activities related to the issuance of New York State general obligation bonds, bond anticipation notes, tax and revenue anticipation notes, and certificates of participation. Mr. Jiha was also the Co-Executive Director of the New York State Local Government Assistance Corporation (LGAC) in charge of the sale of refunding bonds, the ratification of swap agreements, and the selection of financial advisors and underwriters. Prior thereto, Mr. Jiha was Nassau County Deputy Comptroller for Audits and Finances. He also worked for the New York City Office of the Comptroller in increasingly responsible positions: first as Chief Economist and later as Deputy Comptroller for Budget.

Earlier, Mr. Jiha served as Executive Director of the New York State Legislative Tax Study Commission and as Principal Economist for the New York State Assembly Committee on Ways and Means. He holds a Ph.D. and a Master’s degree in Economics from the New School for Social Research and a Bachelor’s degree in Economics from Fordham University.Jacques Jiha was appointed Commissioner of New York City’s Department of Finance by Mayor Bill de Blasio on April 8, 2014. Prior to becoming Commissioner, Mr. Jiha was the Executive Vice President / Chief Operating Officer & Chief Financial Officer of Earl G. Graves, Ltd., a multi-media company with properties in print, digital media, television, events and the internet. A staunch advocate of public service, Mr. Jiha served on a number of government and not-for-profit boards. He was a board member of the Ronald McDonald House of New York, a board member of Public Health Solutions and a trustee of the Public Health Solutions Retirement Trust, a member of the Investment Advisory Committee of the New York Common Retirement Fund, and he was also the Secretary of the board of the New York State Dormitory Authority – one the largest issuers of municipal debt in the country on behalf of public and private universities and medical institutions, and the State of New York.

Mr. Jiha immigrated to East Flatbush, Brooklyn from Haiti in 1979. He worked as a parking garage attendant while attending Fordham University. He earned a doctorate in economics at the New School.

Haitianbeatz.com had the privilege of conducting this interview with Mr. Jiha:

HB- Can you please give a little background of yourself?

JJ- I moved to Brooklyn, NY from Haiti at 21, and attended Fordham University receiving my undergraduate degree in Economics. Working as parking lot attendant in Manhattan is how I paid for school. I earned my Master’s degree as well as my doctorate in Economics from The New School. My first job in politics was as Principal Economist for the New York State Assembly Committee on Ways and Means. I went on to become the chief economist for the New York City’s Comptroller’s Office. Thereafter, I became the New York City Deputy Comptroller for Budget. I moved back to Albany as New York State’s Chief Investment Officer and Deputy Comptroller for Public Finance in charge of the second largest pension fund in the country, worth $120 billion at the time. Before joining the Department of Finance in April 2014, I was the Chief Operating Officer and Chief Financial Officer of Earl G. Graves, Ltd, a multi-media company with properties in print, digital media, television, events and the Internet.

I am very passionate about public service. I have also served on a number of government and not-for-profit boards such as the Ronald McDonald House of New York, Public Health Solutions and the New York State Dormitory Authority.

HB- Being the Commissioner of Finance in the biggest city of the world, what is your role responsibility exactly?

JJ- My main responsibility is to provide the city with the resources it needs to finance its operations, including the New York City Police Department, the Fire Department, and teachers’ salaries, for example. As an agency we collect more than $34 billion in revenue for the city, including property taxes, business taxes and parking tickets. We also value more than $1 trillion worth of property and advise the mayor on the public pensions, which amount to about $160 billion. We also manage the city register, which is where deeds and property are recorded, and maintain the city's treasury with a daily cash balance of about $10 billion. In addition through the sheriff’s office, we serve as the chief civil enforcement office for the city.

HB- Even though you are managing a huge budget, still there is a check and balance. In Haiti where there is always a mistrust of the government when it comes to finance, what can Haiti borrow from your experience to help the country get rid of this stigma?

JJ- You said it – Independent check and balance systems have to be in place. In the Department of Finance we have our own internal control division to ensure that rules, regulations, and processes are followed. In addition, there are a number of independent monitors, including the city council, New York City Comptroller, the New York State Comptroller as well as independent auditors. Governments function best where there is a system of checks and balances in place.

HB- One of the things that is lacking in the Haitian community in New York, is lack of prominent Haitian businesses, what advise would you give to a young business major graduate if he/she wanted to invest in his or her community?

JJ- The success and sustainability of any community is a strong economic base. We have to encourage young Haitian entrepreneurs to create that base by opening up new businesses and participating in the American economy. Not only will they create wealth for themselves, they will be able to provide jobs and serve as role models for the next generation. When I look at the pipeline of young Haitians coming up, I am very optimistic about our future in this country. I would advise young people to stay in school; develop a strong work ethic, and embrace your culture. It will serve you well.

HB- How did you learn that Mayor de Blasio wanted you to be his finance Commissioner, walk us through the process?

JJ- An old colleague in the Mayor’s office reached out to me. They were looking for someone with my skills, experience, and sensitivity. I met with the Mayor and his deputies and after deliberation – two weeks later – I was offered the position. I was hesitant at first because it was a major financial sacrifice to leave the private sector. I thought about it for a while, and then decided to proceed with the process. I felt like this was an opportunity to give back to a city that had given so much to me. I have grown and benefitted greatly here – from having the opportunity to earn a Ph.D and eventually becoming the Chief Operating Officer & Chief Financial Officer of a multi-media company.

HB- Besides having named a few Haitian American Commissioners, how is the relationship between de Blasio and the Haitian Community here in New York?

JJ- Mayor De Blasio has a great relationship with the Haitian community. He continues to show support to Haitians in New York and abroad. A good example was his support for the Haitian community in the Dominican Republic in their moments of need. He is not just talk, he has appointed professionals of Haitian descent to significant posts in his administration: Mitchell Silver, Commissioner of the NYC Parks Department; Gary Rodney, President of the New York City Housing Development Corporation; Rosemonde Pierre-Louis, former Commissioner of NYC Mayor's Office to Combat Domestic Violence and now Senior Adviser on Gender Equity; and me as the Department of Finance Commissioner. Diversity impacts leadership.

HB- One of the most common criticisms of the Haitian community here in New York, is that it lacks leadership, however we do have Haitians in high levels in different part of this big city, why do you think there is a leadership vacuum?

JJ- I wouldn’t say there is a leadership vacuum; there are a lot of Haitians doing great things here. Remember, we are an emerging immigrant group. What we don’t have are visible institutions that are financially strong; but there is definitely a presence. The promise of the Haitian community in New York is strong and inspiring. It was only in the 1980’s that we were called “boat people.” Today, there are Haitian CEO’s, elected officials and Haitians in all aspects of business. I have great hope for the Haitian community.

HB- When was the last time you’ve been to Haiti?

JJ- I last went to Haiti in the summer of 2013 and traveled to Île-à-Vache in the South of Haiti. I stayed at L'anse a L'eau Beach House. It’s a lovely place.

HB- I’ve noticed you posting some pictures of you golfing, how good of a golfer are you?

JJ- I like golf; it gives me the opportunity to exercise and socialize with friends.

HB- Your favorite Haitian dish?

JJ- Lambi served with rice and beans is one of my favorite dishes - as well as accra and sweet plantains.

When I received the go ahead from Raoul Denis Jr. to conduct this interview, I was very thrilled and really wanted this interview to be special and very well conducted. I could have done it, but I felt that

I did not know enough about this legend to be conducting the interview; therefore I reached out to my colleague, a legend on his own in the Haitian media, my good friend Ralph Delly to help me with the interview, he did not hesitate for one second. He did a wonderful job, as you are about to read below:

HB- Hi! Ti Ra, How do you describe yourself as a musician?

RDJ- Hello HB!I would say that I am a multipurpose musician. Due to my academic formation and my experience in various fields of music, I can play as a cellist in a symphonic or chamber orchestra as well as a keyboard player in any popular music combos, particularly Haitian music (which is not only Kompa). I’m also a songwriter and a music composer.

HB- What is your music background?

RDJ- I studied the cello since age 11. I had various scholarships, particularly in Bogota, Colombia, where I studied music theory, harmony and counterpoint besides of cello master classes. I studied also techniques of commercial music and followed the American Helen Hobbs Jordan music method at the Haitian American Academy of ballet and arts, with Professor Eileen Herzog.

I played about 20 years as 1st cellist at the Pro-Musica chamber orchestra. I studied the piano with my mother Professor Micheline Laudun Denis since age 6, but I wasn’t a good piano student. That’s why my parents decided to direct me to the study of Electronic organ at age 13, following the new Yamaha Electone method where I found more interest because of the wide variety of popular music that I could learn and play with this new coming instrument. And up to now, for around 40 years I have performed as a keyboardist with various popular Haitian bands and solo artists.

RDJ- I could consider my work to be in 2 categories: One is Haitian popular/dance music (Kompa). The second one would be OST music especially written for some movies and for Haitian Folkloric Ballet.

HB- We haven't heard a song by you for quite some time; does music take a backseat to your life now?

RDJ- Information about my activities might not have reached you by lack of promotion! In fact, my latest personal release was in Jan. 2006, a Cd intitled “Gloire à Adonaï”, a Christian album recorded with the live voices of the choir of Maison du Silence a Mason Temple in Haiti. (Available online at Loungekreyol.com) It was a new and really good experience.

The same year, I released Tezin, a complete folkloric ballet music especially written for Nicole Lumarque’s Ballet Folklorique d’Haiti, BFH. Afterwards, for 8 months, I co directed with my friend Joel Widmaier the adaptation of the Haitian version of famous Luc Plamondon’s Rock Opera “STARMANIA”, produced by “Haiti en Scène”. It was the first ever of such a big production with around 40 young Haitian singers, dancers and musician. It has been performed 11 times – standing ovation – in Montreal last year, at La Tohu. (Pls. search it on the web) Meanwhile, Joel and I started with our long dreamed project, the return of our band Zèklè. And since Dec 1st 2007, we dedicated ourselves to various big productions and Festivals.

HB- What has been your biggest challenge as a Haitian musician? Have you been able to overcome that challenge? If so, how?

RDJ: In fact I consider my whole life as a big challenge with both failures and victories!

As a Haitian musician, I had various “biggest” challenges!

* Writing music for several complete Folkloric Ballets was one of them. I wrote 6 ballets and each one has around 17 to 18 different tunes, each tune for targeted scenery.

* Making the whole musical arrangement for Christian songs on a live pre-recording was another challenge.

* Co-directing and adapting all this STARMANIA Rock Opera into Haitian flavor and rhythms was also one.

* To come back with Zekle after so many years and co direct with Joel all the rehearses during 7 months before our 1st Flashback concert was also a wonderful one…

* And the 2 challenges for which I will never give up and for which I am still fighingt in my country are:

1. The Haitian Society of Copyright. (I may consider the actual Bureau Haitien du Droit d’Auteur as a big failure. But this is another story…politically speaking…)

2. The National Academy of Music.

HB- You were once involved in a deadly car accident, can you tell us what happened?

RDJ: This was a very sad and desperate moment in my life. I don’t want to talk about it. The only thing I would like to tell to all your readers especially the young ones: Don’t drink and drive. Or better: Don’t drink at all!

HB- What's your lecture of the actual state of Haitian music, especially Compas?

RDJ: There is a resurgence of old bands. Zekle – Gypsies – Bossa – Oxygene/DP and more to come. Because of the lack of musical education, young bands have not a lot to say in Kompa music. Once one band gets some originality, all other competitors copy it. On another hand, the musical production is very poor. Radio animators don’t make big efforts to present other styles of Haitian music to their audience. Most of them just play the hit songs and invade the air play with hip-hop/rap styles, national and from the States, whatever the quality and/or the rating of the lyrics contents. The emergence of new Haitian Hip-hop seems to be well accepted only by the youth, as if they were rejecting Kompa. The Haitian audience and music consumer are losing their references and are saturated by the same tunes played on TV or radios. This is the reason why I think that such a positive welcome back has been given to Zekle, for example. Music is changing around the world, it’s a fact. But Kompa music doesn’t seem to take the “A” Train. And the guilt is certainly not only for the young musicians but for the entire professional environment instead:

Radio/Tv new generation of “animateurs” who better involve themselves in monkey business or trying to nourish their egos instead of looking for the music quality in the wide Haitian and all age repertoire available

Promoters who want to be more superstars than the artists and doing “whatever” in the industry;

· Haitian officials who don’t give a d… about our artistic production/education and seem to encourage the “Voye Monte” style when it’s about Music Industry/orientations, etc. No National Plan for Music Industry

· The young musicians or “said” musicians themselves, caring more about their stardom than the quality of their music repertoire and/or respect of their audience.

… And so on…

HB- Could you mention any of your favourite artist that you really like?

RDJ- It was really a song composed for my daughter’s birth Sukaïna. However I never thought that it would be THE Hit Song and reach International hit lists! “Mizikasyon” was the album title and the song that I had choosen to be the hit song.

HB- Do you currently work with other artists?

RDJ- Well… Actually I don’t work with other artists. I want to concentrate myself to Zèklè’s new projects, which means Concerts, the Flashback DVD release and a new album in the 1st quarter of 2010.

HB- We have the impression that you are leaning on television more than music, why is that?

RDJ- False. I have time for both! Go to myspace/zekle…

You hosted a TV show for kids on Telemax, what are your special interests in kids?

The whole Telemax head staff left this station in 2003 for the reasons that you know. We started over in 2006 with Canal Bleu. I still dedicate myself to kids with my daily show “Bisou Bisou”. Kids are spontaneous and real. I think that somehow this is my mission to contribute to their education thru my show, opening their minds and imagination on every interesting topic concerning the Planet Earth and the Human Race, besides of our National true Values.

HB- Any final thoughts for the HB readers?

RDJ: Thank you HB for your interest in my work. If I had any final thoughts to everyone it should be:

Never refuse your Generosity. The real one. The one coming from your heart. The one inspired by your soul, which means connected to God. And this always starts by… a smile!

Interview Revisited: Cynthia Blanc First Women Power Broker Of The HMI

Cynthia Blanc used to be on top of the Haitian Music Industry (HMI) ladder about 8 years ago...The most influential person in the HMI...in charge of one of the most successful Music Awards in the HMI in

South Florida. She was someone that almost every musician and band leaders wanted to be in good harmony with. But all of a sudden, in 2004 she disappeared from the HMI world to pursue a career in religion. No explanation was ever given by Mrs. Blanc; she has never spoken about it or given an interview on her disappearance.

Haitianbeatz.com finally got Mrs. Blanc to open up...She answers the tough questions from HB...including why she left the HMI, he contribution to the industry...her upcoming project ...she answers question about COB....she answers questions about her critics...She answer questions on how many musicians and artists she has slept with for favors

HB- The last time we spoke, you were in a religious mode, you were a preacher, closely attached to your church…are you in the same mode now?

CB- First, thank you for offering a space for me to connect with the HaitianBeatz family and Haitian music lovers from all over the world. Yes, as human beings we are always evolving into higher levels of self. As a spiritually conscience person, I am still associated with the Christian faith and Church, even though I am not currently preaching in the traditional manner.

HB- Why aren’t you as committed as you were a couple of years ago?

CB- This is an interesting perception, since as evolving spiritual beings our presentation of who we are changes as we grow. But this does not lessen commitment.

HB- Some in the industry were very suspicious of you when all of a sudden you left the industry and you stated you have turned to God, they feel that you just wanted to find an excuse to take a break from the industry because of financial difficulties and to come back at a later date…any truth to that?

CB- I will not say that these people’s perception was not true. I cannot disrespect their level of interpretation. My motives to connect and to be fully committed to the Creator was what that moment in my life demanded. It was the beginning of my awakening. I have never viewed financial challenges as difficulties and anyone who knew me at that time is a witness that any challenge that was presented to me was instead a motiving force that caused me to overcome what was being presented.

HB- What was/is your contribution to the Haitian Music industry?

CB- In all humility I am pleased to have been a major contributor to the Haitian Music Industry. As a matter of fact, the words “Haitian Music Industry’ was first used in Tambour Battant Magazine. I confidently acknowledge that Tambour Battant Magazine, Tambour Battant Radio and the annual Haitian Music & Entertainment Awards helped shape a structure and a foundation for the Haitian Music Industry. However, the structure and foundation we helped shaped has not been that progressive since we left in 2003. Most bands and artists are still focused on ‘crossing over’, no band or artist has surpassed Tabou Combo and sold over 100,000 units, major events and concerts are still presented as oversized ‘bals’, and our music writers and producers are still not being paid royalties.

HB- Which artist, band concert and/or show had the most impact on you as someone who was very involved in the HMI?

CB- Wow…this is difficult to answer Moses, because each band, artist and even concert addressed a specific personality of Cynthia Blanc. There was a side of me that System Band addressed, a side of me that Sweet Micky addressed etc.

HB- What was the role of women in the early days of the HMI?

CB- When I entered the realm of Haitian music, women were not creators, executors or producers of music business entities. They were all performers and there were no savvy business women executives. I am happy that I was able to be the first to present that image and the first to operate in that role.

HB- Do you see any woman playing a significant role right now? What is your overall opinion of women in this HMI?

CB- The meaning of the word Significant is based on each person's reality. For me significant as it relates to one's role in the Haitian Music Industry means being a creator. And based on the information I have which may be limited, no I do not have knowledge of any women playing a significant role right now. I believe that there is still a need for women to be creative innovators as well as decision makers in this HMI.

HB- What is the legacy of Cynthia Blanc in the HMI?

CB- I trust that Cynthia Blanc’s legacy is a creator, contributor and servant to the formation and advancement of the rich Haitian music heritage.

HB- Do you still listen to Compas music if you do, what are you listening to now?

Absolutely and I love Mizik Mizik, Tabou Combo, Beethova Obas, Ti Paris...there are so many. Right now Mizik Mizik is what I’m listening to.

HB- There is an Award show in New York this coming weekend, were you invited?

I am so excited about this new endeavor. No, I have never been in communication with the organizers. They have not reached out to me and vice versa.

HB- If you were invited, would you have attended?

Absolutely! I would love to experience their contribution to Haitian music and I would love to serve their vision.

CB- I know putting an Award show, it’s not easy, what advice would you give this new group in New York if you were asked?

I would advise the team to work from the power of love, innovation unity and servant hood.

HB- Describe what happened at the end of the last Haitian Music Award, when you just disappeared?

CB- Actually, I was in a place internally fighting to not let my current self emerge. I was fighting to not grow and fighting change. I was dealing with a lot such as the affect my internal fight had on my physical body. A doctor put me on Zantac 75 because of what I was going through. Plus, the fact that I was hurt, betrayed and abandoned by my friends who were the core team of the HME Awards made it worse.

HB- Who abandoned you from your inner circle team after the last music Awards?

CB- The abandonment that I experience was from those who had become my friends who helped planned the 7th HME Awards. I do not want to reveal their identifies. However, I am grateful, because this put me in a position to face what was happening to be internally that led to my spiritual awakening. Now, I can see they did nothing wrong to me...leaving me holding the bag and dealing with issues is what I needed. Not understanding this, if I reveal their identities, it can attach stigmas to their names which is not my intent.

HB- What is your relationship now with the Vice President of the Haitian Music Award, Roselin Jean?

CB-- Roselin Jean is awesome person. Once I created and established the HME Awards, Roselin was very supportive. I trust that my relationship with Roselin is on good terms. Our last conversation was well.

HB- How much was your budget for the last HMEA and how much did you end up spending?

CB- If I remember correctly the expense budget was approximately $350,000.00. At the end we were in the red for $149,000.00 because of unexpected costs with the venue etc.

HB- Beside the Haitian Music Awards, what other project did you work on in the Haitian community?

CB- In addition to the annual Haitian Music & Entertainment Awards, we manifested the annual Haitian Businessperson Achievement Awards, the annual Scholar of Excellence Awards, the annual Soiree Des Legends, Tambour Battant Magazine and Tambour Battant Radio. I also created Momentus Solutions which was very instrumental in addressing issues that affected the South Florida Haitian Community and was very instrumental in assisting Political Candidates.

HB- Who inspires you beside God?

CB- I am inspired by Queen Auset who is the original Black Afrikan Goddess of Kemet (Ancient Egypt) and also Queen Hatshepsut who was the 1st female Pharaoh and the Queen of the 18th Egyptian Dynasty.

HB- Do you have any funny or interesting stories to share with us during your experience with the HMI?

CB- Oh yeah, there are so many….like the time we lost the script 24 hours before the event, and you Moses come to me letting me know and my reply was “what do you want me to do”?!!! “Write another one”!!! And you got to work. Or two days before the event I fired half of the staff. Lol Crazy I tell you, crazy!

HB- Are there any women from the early scene that you feel have not been adequately recognized in the Haitian community?

CB- Certainly, Farah Juste is the 1st to come to mind.

HB- What is something we should know about you that we probably don't know?

CB- I am very childish and humorous. I’m a big kid!

HB- You are the first person in the HMI who actually wrote a book about your HMI experience, you wrote that book, when you stopped producing the Haitian Music Awards. What was the hardest chapter to write? Why?

CB- I would say the hardest chapter I wrote is when I had to revisit and present what happened after the 7th HME Awards in 2003. It was hard because I had to relive the hurt, betrayal, and abandonment, I experienced from my friends who were the core team of the HME Awards.

HB- Many of your critics have stated you are manipulative and seductive…is that true?

CB- I believe that is their interruption of who I was…I will not judge it but include the root of manipulation and seduction is drive, determination, courage and commitment…it’s all love but presented in a different way.

HB- You acknowledge in your book that you used to seduce sleep with men in the industry to get your way or get favors for your projects…can you give some names and numbers? And have you regretted such behavior?

CB- In essence I did to men what they set out to do to me. I become them to them. I caused them to experience themselves. No, I do not regret anything, for I have made no mistakes in my life. Every behavior is an experience that should be cherished as you progress to the next level in your human reality.

HB- Have you dated anyone in the HMI, if yes who were they?

CB- In all due respect to their identities, I will choose to describe them if you allow. I have dated popular, attractive, most wanted, internationally known, confident and musically brilliant. Ou sezi Moses! lol

HB- What new things are in store for you in the near future?

CB- The Rebirth of the Haitian Music & Entertainment Awards in 2012!

HB- Is there any advice that you wish someone had given you when you were starting in the HMI?

CB- Yes, establish a strong spiritual foundation so that you do not become what you see.

HB-- Was there a particular low moment that you remember in the early days when you started in the HMI?

CB- Most would call this a low moment, but for me when I first started, the boycotting and sabotage I received from the men and music veterans was motivation I needed.

HB- What’s your biggest ambition for the future?

CB-To take care of the world from Haiti within me.

HB-Any final thoughts?

CB- I congratulate and celebrate you and everyone else who is working to honor our rich musical heritage. And GET READY WORLD, THE ORIGINAL MOST PRESTIOUS, ANNUAL HAITAIN MUSIC & ENTERTAINMENT AWARDS HAS EMERGED! It’s ON! Nap Kite’l Mache! For more information on our next event go to :

ABOUT CYNTHIA BLANC

Moluna Cynthia Blanc, affectionately known as La Reine Cynthia (born October 12, 1970) is a globalist entrepreneur, philanthropist, and activist of Haitian issues who is best known as the creator of the Haitian Music & Entertainment Awards, which she produces annually.

Cynthia is an inspiring representative of authentic Haiti to the planet. Through her self-expression, mindset, business endeavors and activism, she displays Haiti’s spirituality, resilience, beauty, culture, independence, love, and business acumen to the world.

An entrepreneur since she was eight years old, Cynthia started working on Miami’s heavily political Haitian radio at the age of 19. In 1996, she created and launched the annual Haitian Music & Entertainment Awards along with Tambour Battant Music Magazine, causing her to be internationally-recognized as a pioneer and leading force in Haitian music, and viewed as one of the music industry's most consistently successful and progressive entrepreneurs. Her vast contributions in the music & entertainment industries prove that anything is attainable through perseverance and determination. Just as Dick Clark, Don Cornelius, and Emilio Estefan are institutions of the music genre they represent, so is Cynthia Blanc for Haitian music. She joins these veteran promoters - making her contribution to Haitian music as she continues to raise the level of excellence with each of her exciting and entertaining productions and endeavors.

Among many Awards and Government Proclamations, Moluna Cynthia Blanc received the "Arts & Culture" Award from the Greater Miami Chamber of Commerce for her dedication to the promotion of Haitian culture and heritage. She has been interviewed and featured in various news and media articles.

One aspect that we often tend to ignore about our rich Haitian culture is the traditional dance of Haiti. But one person that has not ignored this aspect of our culture is Haitian traditional dance instructor, choreographer and performer, Nadia Dieudonné.

Nadia Dieudonné is a talented choreographer, dancer and teacher who began dancing at an early age. By the age of 12 Nadia was performing with well known Haitian folk singer and activist Mrs. Myriam Dorismé. Nadia’s innate talent as an Afro-Haitian dancer grew stronger in 1990, as she began to travel back to her homeland to research and study the origins, purposes of Haitian dance and its connections to Africa. Today, after more than 15 years of dancing and performing, Nadia is known as the best Banda dancer outside of Haiti. Her expertise comes out of her diligent study of the folkloric heritage of Haitian dance. She honed her skills by attending several Lakous (communities that preserve and practice specific Vodou ceremonies) in the countryside and dance schools in Port-au-Prince. She also has been guided under the tutelage of the renowned school of Haitian dancer Viviane Gauthier along with independent study with various esteemed folkloric dancers and dance companies.

As part of her commitment to preserve her culture, Nadia founded in 1994, Nadia Dieudonné & Feet of Rhythm, an Afro-Haitian dance company where she creates, develops and fuses the traditional Vodou dances with her unique contemporary style. The group has personified Haitian pride by performing at cultural events worldwide including the Wasshoi International Dance & Music festival in Saki, Japan; Brooklyn Museum of Art; several cultural festivals in Canada, Downtown Dance Festival in Battery Park; Summer stage-Central, Prospect Bark-Band shell, Bryant Park, The African Heritage Guggenheim Festival, The Dance Theater Workshop/NYC, Schomburg, Lincoln Center-Out of Doors and Jacobs Pillow.

Nadia has been a teaching artist since 1995, were she has taught youths within the public schools, community based organizations, and daycare centers throughout the Tri state. Nadia has conducted adult master classes at many prestigious institutions such as City College-San Francisco, State University-San Francisco, Lincoln Center-NYC, Jacobs Pillow (assistant to Jean Leon Destiné)-Boston, Lincoln Center Mid Summer Night Swing- NYC, The Katherine Dunham Dance Institute-NYC and Alvin Ailey NYC(substitute dance instructor). Presently she pursues her M.A in Dance Education at New York University.

Nadia has performed with Masters in the field, such as Haitian icon Jean-Léon Destiné & his Afro-Haitian Dance Company, and the acclaimed Dinizulu African drummers, singers, and dancers. She has also danced with Ballet Djoniba, Charles Moore Dance Theater and Forces of Nature. As a solo artist Nadia has been commissioned to perform throughout the US and abroad—Canada, Guadeloupe, Haiti, Holland, Japan and Trinidad.

Just recently HaitianBeatz.com conducted this interview with Nadia

HB- What was the spark that first keyed your interest in traditional Haitian dance, and where and when did you begin to dance?

ND- I always had a natural ability to dance. As a kid I danced in my elementary school talent shows where I created my own choreographies and costumes. Church was another outlet where I was able to explore and express my talents.

HB- Who were your mentors?

ND- Haitian folk singer and activist Myriam Dorisme was my mentor during my early years in dance. During my adult years Haitian icon Jean Leon Destine became another one of my mentors.

HB- What was your regimen, and how did you achieve what you did?

ND- Its simple practice, practice, and practice! When I first began to realize that I had a naturally ability to move my body I took many dance groups to study, train and develop dance techniques where I fortunate to work with outstanding dancers such as Smitty, Jean Claude Lorier and Lionel Synsir. When I discovered Lesley’s dance studio in Manhattan I went crazy! I took as many Haitian and West African dance classes as I could. In the early ninety’s I decided to go back to Haiti to study and research dance. I took folkloric dance classes in many studios in Port-au-Prince and I went to the countryside to research traditional Haitian dances from various lakous.

HB- It is often said that Haitian traditional dancers, don’t like to wear shoes. When hanging around the house, do you wear shoes, go barefoot, wear socks or wear slippers?

ND- I am always cold so at the least I wear socks around the house.

HB- What is the hardest dance to you?

ND- I don’t have a dance that was particularly hard to learn however Wangol is my least favorite dance and rhythm.

HB- Tell us about your job as a dance instructor. What are your responsibilities and what is a typical day like for you?

ND- I teach elementary school children during the day and during some evenings and weekends I teach Haitian folkloric dances to children and adults. I was a teaching artist for many years where I taught dance in many public schools, daycare centers and universities throughout the tri-borough and New Jersey through organizations such as LEAP, Putumayo, Global Arts to go and Brooklyn Arts Council. Presently I am pursuing my M.A in Dance Education at New York University.

HB- What do you like most about teaching?

ND- I like the fact that I can share my talents with others and help them to develop their inner talents. What I love most is working with children. My favorite age groups to work with are the Pre-K children (age 4). I love their eagerness to learn and to try new things. The sky is the limit!

HB- Why do you think people come to learn from you?

ND- Most adults take my dance classes as a means to stay fit, however a handful of them are already dancers and they come to classes to enrich their dance vocabulary and technique in Haitian folklore.

HB- Are most of your students men or women? And why is that?

ND- Most of my students are mostly females. I find that women are gatekeepers of most cultures. Another thing I observe is that a lot of male dancer from Haiti usually give up on dance when they get to the United States because they are disappointed when they realized that dance does not offer a lot of money.

HB- How often do you teach?

ND- Right now I teach my adult dance classes on Sundays from 12-1:30 pm @ Embora Wellness-900 Fulton Street between Washington and Waverly.

HB- How many students are enrolled, and how do students come to be in your class?

ND- My class size range from 20-25 students

HB- Are the students all highly motivated?

ND- Yes they are.

HB- What is their inspiration?

ND- I believe that each student’s inspiration comes from their own personals reasons. They take classes for physical, recreational or educational purposes. I hope my love and commitment to dance will serve as an inspiration for them as well.

HB- What do you think is involved, what are the keys to achieving the highest levels in Haitian traditional dancing or in any art?

ND- Begin true to your craft is the key to achieving the highest level in any art form. By this I mean studying, practicing and researching what you want to do.

HB- What makes a great dance teacher?

ND- A great dance teacher must have patience and is someone who can teach people how to use their body as tool to communicate without using words

HB- Does dancing have an impact in one’s health?

ND- Yes dancing has a positive impact on one’s physical and mental health. One thing for sure is when I’m under a lot of stress dancing is the one thing that helps get my mind right. And I’ve been told that I have a youthful body (LOL!)

HB- Talk a little about your dance company "Feet of Rhythms 's" current and upcoming productions.

ND- One particular production that Feet of Rhythm is really proud of is a show called “Heritage” which is a 90 min dance and musical production that depicts Africans journey to Haiti and their resilience to abolish slavery.

HB- Does Feet of Rhythms have a particular style or direction as compared to other dance companies?

ND- It is my mission is represent Haitian dance in a professional and theatrical manner without losing the essence of Haitian traditional dance while fusing my own artistic vision and dance style.

HB- Why do you think when talking about Haitian culture many seems to think it’s all about the music?

ND- I feel the music is a universal language and people are more receptive to music. Nonetheless Haitian culture is comprised of its music, dances, foods, religions, art and way of life.

HB- How important do you think traditional Haitian dance and roots/racines music, is to the value of our culture?

ND- Traditional music and dance play a vital role in our culture and it the foundation of Haitian folklore dance and Racine (Roots) music. Naturally you can’t conduct a Vodou ceremony on stage but artists can use the very bases of these movements with their own style and vision to present one aspect of Haiti’s culture through dance. This is what we call folkloric dance and the same go for Racine (Roots) music it’s basically the fusing of traditional rhythms and songs with modern rock, pop, and reggae( more or less).

HB- Do you think one can use Haitian traditional dance as a forum to uniquely communicate as an art?

ND- Yes, this is what inspires me to create my choreographies and productions. For example in Heritage I use dance to tell the story about Haiti’s journey from slavery to freedom.

HB- What do you think is the level of audiences' knowledge and appreciation of Haitian traditional dance?

ND- It’s sad to say that not many young Haitian people today appreciate the beauty of Haitian folkloric dances as the older generations did. Most young people would send $35 or more on a Konpa party rather than supporting a Haitian cultural event. Some people who go to Konpa events think negatively about traditional dances and music. I can recall when I was doing Heritage for the second time and because I had a photo of me doing the fire dance, many Haitian people responded by wanting me to remove them from my mailing list claiming that they did not want to attend a “Vodou” event. Perhaps if there were more cultural events being produced this might give the young Haitians the opportunity to be more aware and appreciative of Haitian dances.

HB- How do you see the future of Haitian traditional dance?

ND- Traditional dances will not change because it’s found within the traditional ceremonies that still exist in Haiti. However, I find that we are losing a lot of traditional dance influences within the Haitian Folklore because artists are opting to let jazz, ballet and modern dance forms be heavy influenced in their style.

HB- How popular is the Haitian traditional dance outside Haiti?

ND- Haitian folklore is quite popular especially among non Haitians. I’ve traveled to teach perform and represent Haiti at various international cultural festivals throughout the U.S. and aboard and Haitian dance has always been well loved and received.

HB- Where do you see the Haitian traditional dance movement over the next few years?

ND- As I mentioned before a lot of artists are choosing to fuse Haitian dance with other dance styles making traditional dances less dominate in Haitian folklore. Another important factor that will contribute to the decrease of Haitian dance is that not enough Haitian parents are enrolling their kids into culturally based programs. Presently I conduct a children’s dance company and cultural program called Feet of Rhythm Kids however not too many Haitian parents support my program.

HB- What kind of dance do you respond to most strongly now?

ND- I love them and all depend on my mood.

HB- Do you still like to go to clubs and dance socially?

ND- Yes for sure however I don’t do it as much as I used to. I find now that I like going to more cultural events to support my fellow artists.

HB- Describe for us the highest moment of your life as a performer?

ND- In my dance career I went through various phases and each phase contributed something positive in my development as a dancer. I’ve had the opportunity to work with many seasoned dance companies (Jean Leon Dance Company, La Troupe Makandal, Forces of Nature and the acclaimed Dinizulu African Dancers and Singers) accomplished internationally music bands (Rara Machine, Jepthe Guillaume &the Tete Kale Orchestra, and Arrested Development) and in high profile events such as the Rolling Stone Voodoo lounge tour, Summer stage with Tabou Combo, and Papa Jube and the Wasshoi Festival in Japan. I must say my first performance in was an awesome experience. I was elated for weeks after my trip.

HB- Any final words?

ND- Stay true to yourself and your dreams. At first many people thought I was wasting my time with dance but my love, passion, and commitment to dance has opened so many doors for me.

‘Experience makes a man’, this couldn’t hold more true in case of Bobyy Raymond. Bobby Raymond continues to play with the same enthusiasm he had decades ago and has stayed true to his passion for music. Bobby Raymond is among the most original prolific, and influential bassists in the Haitian music history.

Bobby Raymond, a native of Haiti, a bassist, composer, producer, and educator. Drawn to the bass as a teenager, He had various opportunities to experiment with Haitian music, American Jazz, Latin Jazz, Afro Cuban Jazz, and Haitian Jazz. He was fortunate enough to study with Jazz legends such as Reggie Workman, and Milt Hinton. He has been a pioneer in Haitian music Konpa (New Generation Style), also played Roots, Latin Jazz, Afro Cuban Jazz, and Haitian Jazz He performed and toured in bands all over the world led by many famous musicians such as: Bomba Azur, Sakad, Mystik, Zin, Phantoms, Lakol, Freres Duroseau (Nemours Jean-Baptiste), Raymond Sicot, Kiskeya Orchestra, Beethova, Eddy Francois, Boulo Valcourt, Patato, Mozayik, Buyu Ambroise, Reginald Policard, King Kino, Alan Cave, Ansy Derose, Emlyn Michel, Princess Lover, Jean-Luc Guanel, Tanya Saint Val, Shoubou, Coubano, Ralph Thamar, Jean-Philippe Marthely, Makarios Cesaire, Shedley Abraham, Markus Schrawtz. Currently he is working with various musical groups in the New York area.

Bobby, sat with HB and went into details about his life story as a bass player and shared some very good tips for inspiring bass players:

HB- Hi Bobby, How are you? Thanks so much for taking time out of your busy schedule to talk.

BR- Moses-- I would like to thank you for this opportunity and the important work you are doing for our community.

HB- So how long have you been playing bass?

BR- I have been playing music since I was very young. I was actually 13 years old when I started playing the bass.

HB- How did you start playing, and where did you study bass, or self-taught?

BR- I grew up listening to my father’s playing of the guitar and the accordion in Haiti. My father always had musician friends over at our house jamming. I would listen and watch very attentively and every opportunity I had, I picked up either the guitar or the accordion and tried to learn the songs I heard them play. When it came time for me learn an instrument, I picked the guitar and tried to learn it on my own. Since I have two older brothers who also play the guitar, I decided to switch to the bass guitar.

Now thirteen, I enrolled at the Muse, a neighborhood music school in Brooklyn. I signed up for lessons to study the acoustic and the electric bass. The Muse had an excellent staff which consisted of some of the best Jazz musicians around. I was a very young, curious musician and my curiosity did not stop at exploring the bass. I signed up for drum, saxophone lessons and, in addition, enrolled in a Jazz workshop. I had an opportunity to study bass with Jazz legends Reggie Workman and Bill Lee (Spike Lee’s father).

Once I got to high school, I joined the orchestra; there I played the upright bass.

While at Hunter College, I was hoping to get a degree in music but I ended up changing my mind. My major was in Sociology with a minor in music. With all the demanding requirements of pursuing a degree, I tried to take lessons here and there whenever possible.

Hunter College provided me an opportunity to join the Jazz Workshop led by Jazz legend Milt Hinton. Milt Hinton was the most gracious and giving human being I have ever met. Every conversation we shared turned into a music lesson for me.

With all that being said, I consider myself to be a self-taught musician.

HB- What were your inspirations and trials you ran into?

BR- My father was my biggest inspiration. Being musicians, we shared in many similar experiences, both good and bad. As you know, back then, our society did not look favorably at musicians in general. Once you have the title of “musician” associated with your name, you are labeled a “vagabond”.

Fortunately for me, my parents did not share that mentality. My father always encouraged me to follow my passion. My parents supported my decision to play music, as long as I did not neglect my education.

While I was in college, getting my Baccalaureate degree, I was also simultaneously working with Arsene Appolon’s band, AA Express which later changed its name to Astros. See picture below.

The band that booked Bobby to go on tour in Haiti, Martinique, Guadeloupe, and Guiane Française.

This opportunity was so irresistible to me that I decided to leave college to go on the road with the band. The chance to experience being on the road, playing music, seeing new places and meeting new people was the opportunity of a lifetime. I learned some of my life’s most valuable lessons on that tour. The pay was close to nothing and the constant discomfort seemed like a small price to pay. Even today when I look back at this time in my life, I would not change a thing.

After the tour was over, I had a reality check and started to think about my future. I decided to go back come back to New York to finish college and to play music locally.

I am forever indebted to my parents and their words of wisdom about the importance of education.

I went back to school and acquired the following degrees:

Master of Education - Supervision and Administration, Bank Street College of Education, New York, New York

Master of Arts and Science Education, Brooklyn College, Brooklyn, New York

Baccalaureate degree in Sociology, Hunter College, New York, New York

With all the time spent pursuing these degrees, music is and will always be number one in my heart. I would also like to take this opportunity thank my wife and children for their support

Richard Duroseau et Son Orchestre

This CD made up of the some of the original members of Nemours Jn. Baptist. The creators of Konpa. (The first Haitian LP in sold in Japan)

In terms of which ones I enjoy playing with the most? Each artist/band is unique. I equally enjoy the challenge of preparing for each performance and performing each and every one of the artists listed above. Each experience is unique and provides me with an opportunity to learn and grow musically and intellectually. I welcome every opportunity to play all genres of music with as many different artists as possible.

HB- What is your favorite piece of music?

BR- That is a very hard question. I enjoy music, whether it is Konpa, Jazz, Afro-Cuban Jazz, Haitian Jazz, Reggae, Blues, Alternative music, rock and roll… The list would be too long to mention. One day I will let you check out the different genres of music I have in my phone and let you decide.

HB- What is the biggest thing to recommend any bass player at any level?

BR- Being a bass player is not easy; every bassist deals with new challenges in regards to mastering new playing techniques and combining them together with harmony, rhythm, and style.

Bassists should always set goals for themselves to upgrade their playing skills, develop their musical skills, and repertoire.

Below please find my recommendations:

1) Practice technical exercises. Start with basic and easier exercises and progress to harder and more complex exercises. Then go back to the easier ones.

2) Every bass guitarist must eventually learn how to read and write notes. Learn to read the notes in the bass clef and eventually in the treble clef. The remaining literature that can be useful for a bass guitarist is written mostly in the treble clef.

3) You have to know and memorize harmonic symbols. If you wish to play and write a bass solo or a bass line, you have to know what a harmonic symbol Cm7, from which you then pass over to D7/9, means.

4) Ear training is very important. Having good ears and hearing the notes means that you hear the root and other harmonic symbols and scales. While you practice the bass guitar you should also sing the notes. Then you put down the bass guitar and just sing the notes.

5) Educate yourselves constantly. Take lessons if you can. The internet is a great resource; make use of it and all of the music software out there.

6) When playing, do not rush or fall behind. Your role as time keeper means that you have to be on time (in the pocket) when you play or practice. It happens often that some members of the music group enter the measure too late or too soon. Rehearse with a metronome and in the beginning count the measures.

7) When rehearsing, use the correct positioning of the hands, fingers, movements and the bass guitar. When playing, don’t be tense – be relaxed at all times.

Spend as much time as you can with your instrument to practice and to learn as many new techniques as you can. When you have the dexterity, discipline and technique necessary to get the job done, there is no limit to what you can achieve.

HB- When buying a bass, what do you look for in the bass?

BR- Depends on whether you are buying and upright bass, 6 string, 5 string, 4 string, Acoustic electric, and most importantly what kind of sound you are looking or what style of music you intend on playing with that instrument.

If I were in the market to buy an electric bass, I would start by asking myself with the following questions:

What is my Purpose and Budget?

What Bass Construction and Design am I looking for?

What Types of Bass Necks am I looking for?

What Bass Scale Lengths am I looking for?

What Electric Bass Body Types am I looking for?

What style Bass Bridges am I looking for?

What style Pickups am I looking for? Single-Coil or Humbucker

What Electronics am I looking for? Passive vs. Active

How Many Strings am I looking for?

Am I looking for Fretless Basses?

Am I looking for Bass Tone woods?

Which Bass is Right for Me?

Purpose and Budget

Bass guitars vary widely in quality and price, so before you start your search, determine how much you want to spend.

For beginners unsure of their talent or dedication to learning to play the bass, there are many good, affordable “starter” basses available. These instruments tend to have lower quality hardware and electronics, but they are typically very playable and will serve a new bassist well through the early stages of learning and performing with the instrument.

However, more experienced or dedicated players may want to set their sights a little higher, and invest in a bass guitar with richer tonewoods, better electronics, and upgraded hardware. A higher-quality bass will sound better, feel better, and serve a musician longer.

Bass Construction and Design

It’s important to have a good understanding of the basic parts of a bass guitar before you start shopping. Understanding how the instrument is designed and built, and knowing what the different parts are called will help you ask good questions and make informed decisions.

Let us examine the anatomy and parts of an electronic bass guitar:

Neck

The neck of a bass guitar, like the neck of any guitar, includes the headstock, fretboard and internal truss rod, which connect to the body of the bass.

Headstock

The headstock is the wide portion at the top of the neck, where the bass strings terminate at tuning pegs. These tuning pegs—also called tuning keys, tuning machines, or tuners—adjust the tension of each string, changing the pitch. The strings are routed down the neck by the nut—a notched strip of hard plastic or bone attached to the top of the fretboard where the headstock meets the rest of the neck.

Fretboard

The fretboard or fingerboard is usually a thin piece of wood— typically rosewood, maple, or ebony. All are excellent woods for the purpose but can vary in quality. The best fretboards are smooth, hard, and dense so that they wear slowly. Fretboards are usually arched from side to side. This arch is called the radius, referring to an imaginary circle that would be formed if the arch of the fretboard were extended to make a circle. Some bass fretboards are close to flat, while others may have a radius as short as ten inches. The shorter the radius, the more pronounced the arch of the fretboard. The fretboard is embedded with frets which are narrow strips of metal. These frets divide the neck into half-step increments, and determine where each note is played along the length of the neck.

A few electric basses are fretless, allowing smoother glissando effects but also requiring greater skill on the part of the bassist. They’re not usually a good choice for beginning bassists.

Some basses have fretboards that are an integral part of the neck rather than being a separate glued-on layer.

Truss Rod

Inside the neck is a metal truss rod that helps prevent the neck from bending or twisting. Bass strings are thicker than guitar strings and create a lot of tension on the neck. Truss rod adjustments allow the neck to be straightened if it becomes bowed or twisted, and are also used when adjusting string height for optimal playability.

Types of Bass Necks

There are three kinds of bass guitar necks, their names indicating the manner in which the neck attaches to the body:

• Bolt-on neck

• Set neck

• Thru-body neck

Most basses have bolt-on necks, which mean the neck is bolted onto the body. The bolts should keep the neck stable and not allow it to shift up or down. A solid, tight connection between the neck and the body is essential. It is also good to have more rather than less overlap of neck and body for greater stability, better string vibration transfer, and enhanced sustain.

Some bass guitars have set necks, meaning the neck is attached to the body with a mortise or dovetail joint rather than being bolted to it. A set neck creates better resonance and sustain, but can be more difficult to adjust.

Thru-body necks are found on higher-end bass guitars. This type of neck continues as one continuous piece through the body. Wings are attached to each side of it to form the upper and lower parts of the body. With a thru-body neck there is no joint between the neck and body that can inhibit vibration, resulting in better response and sustain.

Bass Scale Lengths

Scale is the length between the nut (the notched piece between the fretboard and the headstock) and bridge where the strings are anchored at the tail end of the body. The most common scale length is 34".

There are a few short-scale basses, such as the Fender Mustang, various Hofner Violin Bass models, or the Gibson EBO, that are around 30". These are a good choice for young players with small hands who may have trouble playing a standard-size instrument.

A long-scale neck usually has a 35" scale. This longer scale gives you a few more frets, and is most often used for five- and six-string basses because it improves string tension and minimizes floppiness on the low strings.

Electric Bass Body Types

Solid body basses are the most common type. In better instruments, these bodies are often made of a solid piece of wood—alder, maple, swamp ash, mahogany, or some other wood that transfers vibration well. In lower-priced basses, the bodies may be made using laminated wood plies, softer woods, or pressed woods. There are even basses with plastic bodies.

Hollow body basses, as you probably guessed, have a hollow body like an acoustic guitar but use the same magnetic pickups as solidbody basses. They are used mostly by jazz and folk players, and for music that is quieter and requires a more acoustic-like tone. A famous hollowbody, the Hofner violin-shaped "Beatle" bass, is an example of a hollowbody used for rock music. Hollowbody basses have the advantage of being lighter, but they usually are more limited in the volume they can produce because they feed back more easily than solidbody basses at high volume. There are also a few semi-hollowbody basses that have a solid center block and hollow outer halves of the body. They are less prone to feedback.

Another type of hollowbody bass is the acoustic-electric. This is really an acoustic instrument built similarly to an acoustic guitar and usually equipped with a piezo pickup that allows it to be amplified. Most often the piezo pickup is located under the bridge, while an onboard preamplifier allows tonal adjustments when the bass is amplified.

Bass Bridges

The bass guitar’s strings terminate at the bridge, where their vibrations are transmitted to the body creating the resonance and tone that the pickups capture and amplify. The strings pass over notches, called bridge saddles, which can be moved up and down to adjust the action, or forward and back to adjust the intonation. Better bridges are made of brass, and are often plated with chrome or nickel silver. A bridge with more mass and weight will usually anchor the strings better and transfer more vibration from the strings to the body.

There are three different bridge types on most electric bass guitars:

• Through-bridge

• String-through body

• Bridge and tailpiece combination

On a through-bridge, the strings are threaded through the back of the bridge, and over the saddles. On a string-through body bridge the strings are fed through the body of the bass and over the saddles. A bridge and tailpiece combination feeds the strings through a separate tailpiece that’s unconnected to the saddles.

Pickups: Single-Coil or Humbucker

Pickups are electromagnetic devices that capture the sound created by the vibrating strings and body of the bass, converting it to an electronic signal. Most bass guitars have two sets of pickups to provide a greater tonal range. Pickups nearer the fretboard have a smooth, low-end sound, while the pickups closer to the bridge have an edgy, mid- to high-end tone.

The most common types of pickups are single-coil and humbuckers, and most others are simply variations on one of these two types.

Single-coils were the first kind of pickups and the most simple. Each pickup has only one coil and one magnet, which creates a bright, focused sound. Single-coil pickups can be noisy, however, which is why humbucking pickups were developed.

Humbucking pickups were created in an effort to cancel the hum or noise of the single-coil, but they also have a fatter sound in addition to being more noise-free. The humbucker sound can get muddy at higher volumes though.

One common variation is the split-coil (the design found on the Fender Precision Bass). It is a single-coil wired to function like a humbucker. Two halves of the pickup are separated and one side is reversed in polarity to the other. Thus, you get a tone that is closer to the single-coil sound, but with the quietness of the humbucker.

Electronics: Passive vs. Active

The terms active and passive refer to the preamp circuitry of the bass. The preamp boosts the pickups’ output and provides tone-shaping controls.

Passive preamp systems operate without any power source and have fewer controls, usually a volume knob, a tone knob, and a blend control if there are two pickups. One advantage of the passive bass is that it doesn't depend on a battery that can die in the middle of a gig. Another plus is the simplicity of operation. Passive electronics have a more traditional low-fi sound that some players to the hi-fi sound of active electronics.

Active basses need power, usually provided by an onboard battery. The advantage of an active preamp system is stronger output and more control over tone shaping. Active basses often have separate EQ controls divided into frequency bands, such as a low-, mid-, and high-frequency boost/cut controls. They can also have contour switches which instantly reshape the EQ profile. Some have controls that let you change the wiring of your pickups on the fly from series to parallel for dramatic tonal shifts. A coil tap switch found on some basses with active electronics deactivates one set of coils in a humbucking pickup to make it sound like a single-coil.

How Many Strings?

Four-String Bass Guitars

Most bass guitars have four strings and new players should probably start with a four-string bass. These basses are perfectly adequate for most musical styles, and the necks are smaller than those on five- and six-string basses, making them easier to handle and learn with.

Five- and Six-String Bass Guitars

Five-string basses add a lower B string, giving the instrument a deeper range. The neck of a five-string bass is necessarily wider than a four-string, making it a little harder to play. Five-string basses are popular with some hard rock, metal, fusion, and jazz bassists.

Six-string basses have an even more extended range due to their low B string and high C string. Six strings require a wider neck yet, which can be difficult for many players to handle. Though challenging, they’re ideal for bass players who do a lot of soloing as they widen the range and provide room for greater creativity.

Fretless Basses

Standard bass guitars have fretted necks, with metal frets dividing the fingerboard into half-step increments. These frets make it easy to see where each note is played on the neck.

A fretless bass, however, has a smooth neck, similar to an upright bass or violin. Hitting the right notes with the right intonation is challenging and not for beginners. Fretless bass players rely on muscle memory and a well-trained ear. They choose the fretless bass for its smoother, warmer sound and its ability to provide glissando effects like a standup acoustic bass.

Bass Tonewoods

The type of wood that is used in the body of the bass guitar will impact its tone and resonance. New players don’t need to be too concerned with the type of wood used for their bass guitar body. But if you are looking for a specific sound from your bass, then the body wood could be an important factor.

Alder: is often used for bass guitar bodies. It creates a very balanced tone, with great clarity and a very full sound.

Agathis: is a popular body wood because it is relatively inexpensive. It provides a fairly balanced tone with a slight emphasis on low-mid tones that gives it a rich sound.

Ash: There are several species of ash used on bass guitar bodies, with subtle differences, but in general the wood produces a bright, full sound, similar to alder. Swamp ash is especially desirable due to its beautiful grain.

Basswood: Frequently used on less expensive instruments, it is a softer wood that does not resonate as much as other tonewood options. Some bass players think this creates a flat sound, while others feel the short sustain is ideal for fast, complex playing techniques.

Mahogany: is a popular tonewood for bass guitars because it produces a soft, warm tone that emphasizes the low-mid and lower-range tones, and creates longer sustain. It is a dense wood, however, and will feel heavier on your shoulder than ash or agathis.

Maple: is also a dense wood, so it creates a well-sustained sound like mahogany. Maple, however, produces a bright, clear tone that many musicians find valuable in a studio setting.

Many other woods are used for bass bodies. High-end models may be made of exotic species such as bubinga, wenge, koa, or cocobolo.

So Which Bass is Right for Me?

Here are a few guidelines (not rules) for the first-time bass buyer:

• Buy the best bass you can afford. A good bass will make learning easier and you won't outgrow it as quickly.

• Choose a fretted instrument, unless you are ready for the challenge of a fretless.

• Choose a short-scale bass if you are young, small, or have unusually small hands.

• For simplicity's sake, choose a 4-string instrument.

• Select a bass with simple controls so you can focus on the strings and not be distracted by knobs.

• Choose a bass in a color and shape that appeals to you. Its looks won't make it sound better, but a cool-looking bass can motivate you to play more.

I hope this guide was helpful for anyone who maybe in the market to buy a bass.

BR- It depends on the genre of music in question. I love and listen to all styles of music, ranging from konpa, classical, jazz, funk, blues, rock, and beyond.

HB- Who are your favorite bassists?

BR- Wow! I would like to start by thanking all the great bass players who came before me and paved the way for me musically.

I suppose favorites can change based on the genre and style of music in question. I am constantly listening for innovative players. In addition, I listen for, melodically, and thoughtfully constructed, complex bass lines that aren't complicated. Most often, those catchy bass lines are not always easy to play, but they never feel like the bassist is trying too hard or to fit more in than should be there. I know and love many bass players for different reasons. The list would be too long to list.

HB- How different is it from playing a guitar and a bass, please explain?

BR- The simplest difference between guitar and bass guitar is the pitch range of the instruments. Bass guitar plays notes an octave lower than a regular guitar.

The next difference is the role the instruments play in a group. Traditionally, bass guitar plays a supportive role along with the drummer to create the pulse of the music and set the music's foundation

Guitar, with its higher range, also plays a supportive role and solos are more common on guitar. Traditionally guitar is a bit more out front and in the spotlight. But, the bass is very critical in a band. You will see many bands without guitarists and without drummers, but not many without a bass player. The bass guitar in my opinion plays a very important role in a band. Furthermore, the bass still has all the same possibilities as the guitar. You can solo and play many things like a guitarist does.

My main instrument is bass; I used the guitar mostly when I am composing. Playing the Six String Bass brings me closer to both instruments as it pertains to range, texture and possibilities.

HB- You play different genre, konpa, jazz and others, which one are you more comfortable with?

BR- That is very flattering of you to say.

I think the question for me is with whom I have the pleasure of playing.

First I listen, practice and learn the band’s/artist’s repertoire. Once I know the repertoire, then I am comfortable with it.

Buyu Ambroise & The Blues in Red Band

I have had the honor of sharing the stage with the following musicians/bands who play different genres of music:

BR- It is very different from the 90’s when I played with Zin. There were a lot of New Generation styles of music being created. There were lots of Haitian venues available for bands to play, on a weekly basis. I miss those days.

BR- Besides being punctual being prepared, and being open to new ideas.

1) Practice technical exercises.

2) Every bass guitarist must eventually learn how to read and write notes.

3) Learn the harmonic symbols, know and memorize them.

4) Ear training is very important. Having good ears and hearing the notes means that we hear the root and other harmonic symbols and scales. Sing the notes as our practice.

5) Educate yourselves constantly. Take lessons if you can. The internet is a great resource, make use of it.

6) When playing, do not rush or fall behind. Rehearse with a metronome and in the beginning count the measures.

7) When rehearsing, use the correct positioning of the hands, fingers, movements and the bass guitar. When playing, don’t be tense – be relaxed at all times.

HB- Anything you wanted to say, I did not ask?

BR- I feel blessed and fortunate to have been part of several musical groups who have made an impact on the landscape of Haitian Music. One such group is Mystik, under the musical direction of Maestro Dernst Emile. Maestro Emile led the way of this new genre of music which later on influenced a lot of newer styles of Haitian Music. Mystik was a continuation of the group Shleu Shleu whose members at the time were Tony Moise, Edward Richard, Reynold Cadet, Georges Andre, Patrick Saintil, Clovis, Peddy Pierre-Charles, and Alix Saintil. I was lucky to be one of the four additional new members added to the group, along with Erick Charles, Evans Lespinasse, and John-Bob Castel.

Godwin Louis, alto saxophonist, was born in Harlem, New York and began playing saxophone at age nine. Godwin grew up in Bridgeport, Connecticut and Port au Prince, Haiti. Godwin is a recent graduate from the prestigious Thelonious Monk Institute for Jazz Performance class of 2011.

Godwin was one of the six fellows selected to be in the Thelonious Monk Institute for Jazz Performance, a full-scholarship graduate-level program at Loyola University New Orleans, where, under the artistic direction of Terence Blanchard, he and his colleagues honed their skills at performing, teaching and composing. They gave concerts, clinics and private lessons in Louisiana, the Mississippi gulf coast as well as around the globe including, at the Basilicata per New Orleans Jazz festival in Matera Italy and in Beijing, China. Through the Institute, Godwin has studied and performed with Herbie Hancock, Dee Dee Bridgewater, Clark Terry, Ron Carter, Jack Dejohnette, Jimmy Heath, Barry Harris, David Baker, Emeline Michel, Danilo Perez, John Scofield, Jeff “Tain” Watts, John Patitucci, Steve Coleman, Dick Oatts, Jason Moran, Nicholas Payton, Don Sickler, Chris Potter, and artistic director Terence Blanchard. While in the Institute, Godwin was fortunate to study composition privately with the legendary composer, pianist and New Orleans native Roger Dickerson. Godwin also had the opportunity to play and record with world-renowned clarinetist Dr. Michael White. His playing is featured on Dr. Michael White’s latest recording Adventures in New Orleans- Part 1 released on Basin Street Records.

As an undergraduate Godwin studied music education and received his degree in Professional Music with an emphasis on education at Berklee College of Music. While at Berklee, Godwin had the opportunity to perform and record with Terri Lynn Carrington, Cindy Blackman, Ralph Peterson Jr., Delfeayo Marsalis, Phillip Bailey, Gloria Estefan, and Billy Preston. Godwin studied with Frank Tiberi, Jim Ogdren, George Garzone, Joe Lovano, Ed Tomassi, Dave Santoro, Hal Crook, Bill Pierce, Herb Pomeroy among others. Godwin was the recipient of the Elvin Jones award and was selected by the college to perform at numerous music venues and festivals worldwide including: the JVC Festival (New York), Blue Note (New York), Monterey Jazz Festival (California), Trinidad and Tobago Steelpan Jazz Festival, Nancy Jazz Pulsation (France), ArtSpring Performing Arts Center (Salt Spring Island, British Columbia), Sky Church – Experience Music Project/Science Fiction Museum (Seattle), LV’s Uptown (Portland, Oregon), San Jose Jazz Festival (California).

While living in Boston, Godwin was selected to be in the legendary Boston ensemble, The Either/Orchestra. He has toured and recorded with the band, including with Ethiopian legends, Mulatu Astatke, Mahmoud Ahmed, Getachew Mekurya and Alemayehu Eshete. Venues performed include: Lincoln Center Out of Doors, The Barbican (UK) Glastonbury Festival (UK) What is Classical Festival (Toronto) Festival of World Cultures (Ireland) Jazz and Ribs Festival (Columbus) Iridium (NYC), Regattabar (Boston), Historic Sweets Ballroom (Oakland), Sanders Theatre (Boston) Institute of Contemporary Art (Boston) and Denver University (Colorado).

In addition, Godwin has performed as a sideman, guest soloist and has conducted clinics and master classes worldwide. As an educator, humanitarian and ambassador, Godwin has traveled from Haiti, Mexico, Costa Rica, to China to help promote cross-cultural understanding and introduce thousands to America’s indigenous art form, through public concerts, master classes and jam sessions. Godwin has worked as a clinician at several music camps, including the Louis “Satchmo” Armstrong Camp, New Orleans Center for Creative Arts Camp, and the Greater New Orleans Youth Orchestra Summer Music Camp & Festival.

Godwin attended Bassick high School in Bridgeport, Connecticut and graduated with honors in 2003. During his junior year of high school, Godwin Louis through the help of his mentors Mr. John Pearson, Dr. Dwight Berry, Rev. Timothy Howard and Walters A.M.E Zion Church, began studying privately with Mr. Herbert Wilson, a professional musician, educator and behavior analyst. Then for the young Godwin it was a life changing moment, as he found in Mr. Wilson the mentor he needed to begin a music career.

By the end of his junior year, Godwin was selected as a member of the Connecticut All State Jazz Ensemble, opened for Jimmy Heath, and started performing and recording as a sideman all over the tri-state area (CT-NY-MA). Godwin attended Litchfield Jazz Camp in Connecticut, where he had the opportunity to study with Ray Vega, Don Braden, Dave Santoro, Steve Wilson and John Benitez.

During his senior of high school, Godwin had the privilege to study with Latin jazz icons, Arturo O’farrill and Andy Gonzalez. In June 2003, Godwin was the recipient of the Grace Norton Dudley Music Scholarship, a full scholarship to study at any colleges in the country.

In May 2011, Godwin and his Thelonious Monk Institute fellows recorded an album, “Side Angles” to be released in the spring of 2012 under the band name “Junto 6”. It features 12 original compositions, two by each members of the band. The cd features, Godwin on alto saxophone, Billy Buss on trumpet, Matt Marantz on tenor saxophone, Victor Gould on piano, Hogyu Hwang on bass and Nicholas Falk on drums.

Haitianbeatz had the opportunity to conduct a very informative interview with Godwin:

HB- Taking a step back, where did you grow up?

GL- I grew up in New York, Connecticut, Haiti, Massachusetts, Louisiana.

HB- Can you tell our readers about your musical upbringing.

GL- I started playing the piano at the age of 5. Picked up the saxophone at the age of 9. Followed by the bass at the age of 10. The saxophone was my favorite, so I stuck with the saxophone.

HB- Did you come from a musical family?

GL- Yes, I grew up in a very musical household and family. My father, Rev. Marcel Louis is a pastor, educator, composer, musician etc, my brother Rex Louis is an excellent pianist, minister of music for his church, in Connecticut my cousin Jude Pierre is a first-class trumpeter, composer, pianist, producer etc, my uncle Robert “Magic” Saint-Fleur is an iconic guitarist, who actually introduced me to jazz. In addition, I have a lot of cousins, aunts and uncles that are instrumentalists, singers, songwriters, composers etc.

HB- What was your first big breakthrough as a musician?

GL- My first big breakthrough I’d say was receiving a full scholarship from the estate of Grace Norton Dudley to study music at any institution in the world.

HB- What is one thing you have learned being a part of the music business for so many years?

GL- The same thing needed in life. Patience, peace, faith, love (God).

HB- What memories from your early years playing are you drawn back to again and again?

GL- Living in Haiti (around 1995-96)I was performing at a revival, and a pastor by the name of Eddy (from Carrefour, forgot his last name...) prayed over me and my saxophone. From then on, the blessings haven't stopped (Thank you God, thank you pastor Eddy).

GL- Right now, I am focused on finishing my debut record as a leader this year and getting it out to the world (God willing). Look out for it!

HB- - You are just returning from Haiti from the International Jazz Festival of Port-au-Prince, not the most popular music of Haiti, what needs to be done to advance the cause of jazz in Haiti?

GL-- Nothing needs to be done, just a quick historical reminder. “Jazz” started in Haiti in 1791. The Haitian people (or Africans brought to the new world in general) always need reminders. Haitians need to be reminded that America’s premier indigenous art form labeled as “jazz” started in Haiti, was transported to New Orleans from Haiti between 1791-1804, met with Mississippi Delta culture, evolved into America’s gift to the world. Vocalist Pauline Jean, myself and graphic designer Whittline Jean-Paillant are currently working on a book on the subject matter. Look out for it. We've done research all over the world about the subject matter. Or if you would like to know more about it, contact us. We currently do presentations about the subject matter. So, if you'd like to invite us to your institutions, churches, banquets, TV, radio stations etc. don't hesitate to contact myself, Pauline, or Whittline.

HB- You performed at the International Jazz Festival of PAP, how was the performance?

GL- We performed mostly original compositions based on who we all are (“Haitian-Americans”). And also, music from some of our upcoming (or already released in Jean Caze’s case) albums.

HB- If one of our readers would like to know more about jazz but, album-wise, don't know where to start. What 5 jazz albums you would recommend he/she starts with?

Gashford Guillaume lives in a legacy of music. A music maker for over twenty years, his finely tuned drumming and song writing style has opened a new chapter in world music – a style that fuses traditional Haitian rhythms with the smooth, syncopated beats of one of the world’s most beloved art forms: Jazz. A close listen will also reveal Funk, Pop, R&B, Brazilian, traditional Jazz, Haitian Folklore and Gospel influences.

The Brooklyn native’s ascent into the world of music has been swift. In high school, Gashford was a member of The Edward R. Murrow H.S Jazz band and then later went on to play at different venues around New York City. He has gone on to perform with such Haitian superstars as Emeline Michel and Beethova Obas. Working in the studio for numerous labels and producers as well as regular gigs have taken him on tours and to festivals in places such as Amsterdam, Canada, Japan, Mexico, Haiti, Cuba, St, Lucia, Martinique and many cities around the United States.

Currently, Gashford is at the epicenter of a rapidly growing Haitian Jazz Movement. As a founding member of ‘Mozayik” in 2000, Gashford and the members of Mozayik have quickly made a name for themselves, doing much towards re-establishing the genre of Haitian Jazz. The band has released two critically acclaimed CDs receiving international airplay, Mozayik was subsequently signed to the Grammy-winning Zoho Music jazz label. Mozayik has also performed in jazz festivals in Cuba, Haiti, New York City and Miami, and the band continues to be at the forefront of the Haitian jazz scene in New York City and beyond. Continuing his passionate commitment to supporting the Haitian jazz genre, in October 2005, Gashford teamed up with John “Papa Jube” Altino (VP of SOB’S in NYC) to present the first annual “Haitian Jazz Music Festival” to a sold-out house at SOBs. Created as a vehicle to bring exposure to the diverse talents of the multi-generational Haitian jazz community, as well as to recognize Haiti’s connection and contribution to the creation and evolution of the jazz genre as a whole, the Haitian Jazz movement continues to grow in scope and popularity.

HB- How old were you when you started to play drums?

GG- I've been around music all my life since my dad and siblings are also musicians. I guess I can say I took drums seriously and knew it was what I wanted to play at around age twelve.

HB- Did you always want to be a drummer?

GG- Deffinetly... I have three older brothers that played drums before me. When I was a kid, my brothers played for my dad at church. I had three drummers ahead of me. I usually had to wait my turn and hope someone showed up late so I could get an opportunity to play! Lol... This kept me motivated and hungry.

HB- What drew you towards drums?

GG- I loved the sounds, the beats that could be created. I loved how using each limb to do something different looked. (Independence). Naturaly, a good rhythm made me move.

HB- Do you play any other instrument?

GG- Yes, my second instrument is bass guitar. I play piano, mainly to write and arrange music. These two instruments are vital tools for my writing. There was a time in my early teens that I also took sax lessons but, I really did not have the patience. I wanted to play like Najee, Grover Washington or Michael Brecker right away! Lol...

HB- You play konpa, you play japazz, gospel, which are you more comfortable with?

GG- Hmm, good question... Well, jazz is more challenging. It comes in so many forms. It can be incorporated in pretty much any genre of music. I may be more comfortable with it but more so because it keeps me interested and challenges me. It allows me to explore the music within and be more creative. It makes me want to learn more and does not allow me to get bored. It boils down to what context I am playing in (Pop, funk, Afro/Caribbean, world music). I consider myself to be a versatile drummer and feel confident I can adapt to most musical situations. You mentioned Kompa music. Although I've been around it most of my life, it's not a style I play consistently. However, put me with great musicians and a "gongist", I can hold my own. That being said, I really can't say what I'm more or least comfortable with. It's a matter of what I have more experience playing.

HB- When you listen to another drummer, what do you listen for?

GG- I first listen to how he fits in the context of a band. How well he plays his role. I like drummers that use dynamic, & exotic sounding. Drummers that are "musical" and not just technical. They make the drums "sing". Diversity always gets my attention.

GG- I use "Manhattan 7A" by Vator. They are more on the light side as far as weight, however, they are longer than most 7A sizes, which gives them a nice balance that works for me.

HB- Do you have any exercise routines to maintain leg strength and overall playing stamina?

GG- Not really... I maintain stamina by being consistent in my playing. I do like to exercise in general and that does help. However, I don't have to use much leg strength to play drums. Most of the work comes from my ancestors and my legs work as a whole to keep balanced on my seat.

HB- What does being a professional musician mean to you?

GG- To me, being a professional musician means to know and master your craft... To be able to work and collaborate with other musicians and create. To be able to entertain music lovers and allow them to enjoy your playing. One should always look to improve. Finally, to be responsible and productive on the business side of being a musician. Make sure the clients are always happy with your work.

HB- What advice do you have to younger or up and coming musicinas regarding musical performance?

GG- As far as the the younger and up and coming musicians, my advice to them is to first be humble. Humility will open doors that will allow you to grow. Also, surround yourselves with not only your peers and musicians at your level, surround yourselves with musicians that are better and have more experience than you do. That is one of the best ways to improve and become a better musician. The benefits will show in your performance.

HB- You were in Haiti during the election chaos, for someone living here in the States, how do you see the country?

GG- Well, I went to the Haiti for the purpose of performing at the Port Au Prince International Jazz Festival. I really did not see any chaos or feel any tension. We ran into really bad traffic one afternoon but other than that, everything was smooth. We were not in the areas where protests were being held.

HB- Can you share your experience at the International jazz festival of PAP?

GG- My main focus was to go share music, perform and make people happy. To see other musician friends and enjoy the talents. The shows were totally free. Everything from the sound syetem, stage and lighting was top notch. People who attended were well behaved, attentive to the performers3 and in good spirits. It's great to see how far this festival has come. I participated in the very first festival and a couple of others afterwards and I have to say, it sure has grown!

HB- You took a little video while in Haiti of the original Jazz des Jeunes rehearsing, can you share that moment with us? And what went through your mind?

GG- Actually, that was a new version of Jazz Des Jeunes. A mixture of old and new generation musicians. I was in a building next door rehearsing with Emeline Michel... When we took a break, I could hear the band rehearsing. The sound was from a different era. Wonderful horn arrangements, beautiful melodies and I could not resist wanting to move to the groove the rhythm section was playing. I went down and walked into there rehearsal with a huge smile on my face. That is when I pulled out my phone so I can film and share what I saw when I got back to the states. It was great watching them rehearse. The music was before my time.

HB- Where do you see yourself 5 years from now?

GG- Not too long ago, I embarked on a journey as a solo artist. Currently preparing for my debut project. I would like to do more in terms of producing and arranging for others. Also, studio engineering... These are great tools. There is more to me than being a drummer and in five years, I look to reach my full potential in a few areas. I'm still growing and hope to have released much more projects by then. I also look to release and do bigger projects with my main band Mozayik.

HB- Any parting words?

GG- I just want to say thank you to Haitian Beatz for the invitation to this sit down. It was an absolute pleasure for me to share and have this dialogue.